An artist book that contains two sections. The first is titled "Listes : 99," a reordering by Jacques Roubaud of three of Boltanski's book of lists into 99 different lists. The second section titled "Multiplications" by Boltanski, reprints 35 portraits cut into 3 parts horizontally so that the sections of the face can be recombined 353 times. Reference, "Christian Boltanski : Artist's Books 1969 - 2007"

"In 1986 Boltanski began making installations from a variety of materials and media, with light effects as integral components. Some of these consisted of tin boxes stacked in an altar-like construction with a framed portrait photograph on top...Such assemblages of objects again relate to the principle of reconstruction of the past. Such works, for which he used portrait photographs of Jewish schoolchildren taken in Vienna in 1931, serve as a forceful reminder of the mass murder of Jews by the Nazis. In the works that followed...Boltanski filled whole rooms and corridors with items of worn clothing as a way of prompting an involuntary association with the clothing depots at concentration camps. As in his previous work, objects thus serve as mute testimony to human experience and suffering."--Andreas Franzke, Grove Art Online "Christian Boltanski belongs among those obsessive artists who are courageous and strong enough to tackle again and again their most personal vision, revisiting, modifying, and constantly reinterpreting it. His installations appear at once as a continuation, a further elaboration, of his familiar universe, yet they always address us with new, unexplored meanings. As a highly conscious 'painter of the end of the twentieth century,' he is very clear in naming what precisely this obsession is about. 'I am interested in what I call 'little memory,' Boltanski wrote in the catalogue to his a Paris exposition, 'an emotional memory, an everyday knowledge, the contrary of the Memory with a capital M that is preserved in history books. This little memory, which for me is what makes us unique, is extremely fragile, and it disappears with death. This loss of identity, this equalization in forgetting, is very difficult to accept.' From the very beginning of his career, Boltanski has been in unswerving search of traces, collecting passionately what is left, incidentally, after our disappearance."--Yvette Biro, "The Big Storehouse, "PAJ: A Journal of Performance and Art, January 1999.